Drunkards, Fornicators, and a Great Hen Squabble: Censure Practices and the Gendering of Puritanism

2011 ◽  
Vol 80 (1) ◽  
pp. 40-75
Author(s):  
Monica D. Fitzgerald
Keyword(s):  

The chamber pot was still full. The Dewy family's servant had not yet completed her morning chore of emptying the chamber pot when she dumped it over the head of their next door neighbor, Goody Ingerson. The unexpected assault was retaliation for the murder of some of the Dewys' hens. In 1714, the Dewys owned over 120 chickens, and as their closest neighbor, Ingerson grew tired of the fowl running freely through the Ingersons' property. The Ingersons chased those chickens out of their garden, barn, barley field, and scurried the unwanted guests out of their house. So, to show her unhappiness, Goodwife Ingerson wrung a few necks. The contents of the chamber pot did not slow her down, as Ingerson sent her daughter home with two more dead hens. Tensions escalated and a small brawl almost erupted when Abigail Dewy ordered her chamber pot wielding servant to apprehend the young girl escaping with the dead poultry. The Ingersons' daughter escaped the servant's clutches before Dewy could mete out a flogging with her whipping cord. The Ingersons' daughter made it home safely (perhaps to a chicken dinner). The case of the great hen squabble went to court, where the Connecticut magistrates ordered the Ingersons to pay for the dead chickens. However, when the court asked Abigail Dewy if she ordered her servant to drag Ingerson's daughter by the hair to the Dewy house, she lied and said no. For that, the Westfield church censured her for the sin of lying.

2020 ◽  
Vol 25 (1) ◽  
pp. 237-261
Author(s):  
Jung Ja Choi

Abstract This article explores the configuration of female intersubjectivity demonstrated in the film Poetry (Si, 2010) by Lee Chang-dong (Yi Ch’angdong), as well as the power of poetry to conjure the dead and provide space and voice for marginalized and silenced women. The focus of the film is Mija, a woman in her mid-sixties who works as a caregiver to a disabled man while raising a grandson on her own. Just as Mija discovers that her grandson has been implicated in a sex crime that led to a girl’s death, she learns that she herself is in the first stage of Alzheimer’s disease. It is through poetry that Mija mourns her own impending death and also that of the young girl, who is otherwise consigned to oblivion under the phallocentric order of South Korean society. Lee Chang-dong’s film, this article argues, shows that despite the impossibility of poetry in the face of tragedy, lyric imagination offers women the power to escape the patriarchal imposition of silence and preserve a story of their own.


Author(s):  
Paul Cheshire

This chapter addresses what Gilbert intended to represent through the action of his poem. An evidently symbolic young girl, Elmira, is the sole survivor of a shipwreck. Her mother is drowned. Gilbert makes several references to the Eleusinian Mysteries which concern the rebirth of Ceres’ daughter Proserpina. The common mother-daughter theme suggests a parallel interplay between the living and the dead. The ancient mystery cults, and their parallels with the secret rituals associated with Masonic initiation, were of contemporary interest, as can be shown by Thomas Taylor’s Dissertation on the Eleusinian and Bacchic Mysteries, which was based on an exegesis of Aeneas’ descent into the underworld (Aeneid, Book VI). This method of exegesis – which had been used by Neoplatonists to unlock hidden meanings in Homer – provides a possible key to Gilbert’s allegory.


Tekstualia ◽  
2021 ◽  
Vol 1 (64) ◽  
pp. 61-78
Author(s):  
Ewa Szkudlarek

Using a variety of sources – photographs, poems, fragments of a diary and family memories – in his collection of short stories The Mother Departs Tadeusz Różewicz presents a complex portrait of his mother as a young girl, a caring mother, a mature woman and a dying old woman. The image of his mother, memorized and documented through a range literary means, emerges as a version of the myth of Magna Mater. The poet also tries to imagine his mother after death, whether she is a decomposing corpse under the ground or a spirit in the land of the dead. The stories can be treated as a literary attempt at dealing with profound grief and going through mourning. It is not only the grief and mourning of the writer but also of the reader who shares a similar experience. The memories gathered in the collection The Mother Departs have a therapeutic signifi cance, they enable liberation from trauma and constitute a frame for an eternal portrait of the mother. It is art that provides the possibility of preserving something for posterity and of immortalizing people and their work.


2020 ◽  
Vol 10 (2) ◽  
pp. 103-111
Author(s):  
Andrey K. Babin ◽  
Andrew R. Dattel ◽  
Margaret F. Klemm

Abstract. Twin-engine propeller aircraft accidents occur due to mechanical reasons as well as human error, such as misidentifying a failed engine. This paper proposes a visual indicator as an alternative method to the dead leg–dead engine procedure to identify a failed engine. In total, 50 pilots without a multi-engine rating were randomly assigned to a traditional (dead leg–dead engine) or an alternative (visual indicator) group. Participants performed three takeoffs in a flight simulator with a simulated engine failure after rotation. Participants in the alternative group identified the failed engine faster than the traditional group. A visual indicator may improve pilot accuracy and performance during engine-out emergencies and is recommended as a possible alternative for twin-engine propeller aircraft.


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